7/4

I have heard that the Norah Jones CD is copy protected. I wouldn't know for sure, since I don't own it. B)

I thought he quit! :eye:

You might want to check Google alt.music.van-halen to see the never ending USNET debate about VH. EVH beat cancer twice and split up with his wife. DLR has a new album of mostly covers out, it's so-so. DLR replacement and former Montrose lead singer Hagar whines about DLR The last VH album sucks and sold the worst of all the VH albums ...and so on. I miss DLR years. Hell...I miss the King Crimson and Peter Gabriel of the early '80s.

Curious... B)

Tisziji Munoz, Sun Ra...B)

No, but I do remember this. B)

Uncle Meat!

Melodic Landmarks, Ballad to Turbulence By JON PARELES NY Times Wayne Shorter played brilliant hide-and-seek in his JVC Jazz Festival concert at Carnegie Hall on Saturday, the festival's last night. At times he placed his saxophone lines in plain view, caressing one of his serpentine melodies or buttonholing his quartet with insistent notes to signal the next turn. Just as often he burrowed into the ensemble, making quick ribbons of arpeggios or lightly puffed notes part of the full-group flux. The music was filled with abstruse harmonies and variable rhythms, but it didn't flaunt its convolutions. It used them to map a mental landscape where instability was a source of endless revelation. Although the concert was billed as "Wayne Shorter: Life and Music," it was strictly present tense, not a retrospective like Mr. Shorter's 2002 album "Footprints Live." The program began with a continuous half-hour set by Mr. Shorter's quartet followed by a duet with Herbie Hancock on piano. Both were utterly absorbing, using hints of various compositions — Mr. Shorter's "Go" with the quartet, Mr. Hancock's "Maiden Voyage" in the duet — to provide melodic landmarks in uncharted realms. The quartet moved from ballad to turbulence, gathering insistent rhythms and dissolving them into uneasy introspection. Danilo Perez on piano used sharply glinting tone clusters and shimmering ostinatos; John Patitucci on bass segued counterpoint into vamps; Brian Blade on drums whispered with surreptitious momentum or snapped out climactic accents as the music traversed its modes and moods. Mr. Shorter and Mr. Hancock played with a lambent delicacy. Mr. Hancock brought a preternatural transparency to sagely ambiguous chords; Mr. Shorter's soprano saxophone could sound like a troubled memory or a clarion. They played as if examining "Maiden Voyage" at the level of neurons and capillaries, discovering impulses and pathways still unseen. For the second half of the concert the quartet, sometimes joined by Mr. Hancock, was accompanied by an orchestra conducted by Robert Sadin. The set included pieces from Mr. Shorter's current album, "Alegria" (Verve), on which Mr. Sadin conducts smaller chamber ensembles. The orchestra at first threatened to rein in the music; when the full ensemble took up a melody along with Mr. Shorter, it sounded as if his ultra-maneuverable Porsche of a quartet were towing a trailer. Chords that were mysteriously implied by the small group were sometimes spelled out by the strings in Hollywood-epic pomp. But then came the concert's next guest: the tap dancer Savion Glover, whose feet joined the rhythm section. Neither the audience nor the delighted musicians could take their eyes off Mr. Glover as he engaged each quartet member and galvanized the stageful of musicians, carrying the music down to a rustling patter and building it to peaks that had Mr. Shorter using the full thrust of his tenor saxophone to reply. As Mr. Glover moved, the music's constant inner drama took physical shape. B)

C major traid with the 9th in the bass.

Yeah...I've been wondering about that for a while. A bit too much hype....Masada too.

I've got that cd. I recall diggin' it and also that it seemed a lot of the songs were structures that ended up being tunes on the "Union" reunion album, fleshed out with lyrics, etc. I had a promo copy of Turbulence two years before it came out. I guess those riffs were sitting around waiting to be used for a while!

I saw them at the Bottom Line, NYC and in Central Park, must have been in the '80s. Very intense, lot's of tension. I've lost count of how many times I've heard the California Gtr Trio. I just thought of another one: I saw Fripp and Sylvian, the (NYC union) sound guys mixed Fripp way too low. There was a young guy sitting next to me complaining about how it was his first time to see Fripp and he couldn't even hear him. Almost in tears too. At least Damage was released! No, the last time was the Double Trio on their first tour. And that's probably the last time too. I can't deal with the Rock crowds. I'm happy enough with Heavy ConstruKction. The last time I heard Fripp was when he did a 3 or 4 day set of shows at the World Financial Center Wintergarden Atrium in Nov. 2000. Sets at noon and in the evening. I caught two of them. As for Yes, but not quite Yes: check out Turbulence by Steve Howe (he doesn't sing on it!), Bill Bruford Billy Currie (keys) and others. A fine instrumental album.

I'm very familiar with Fripp's policys. I've seen Crimson 'bout 7 times, Frippertronics/Soundscapes 'bout 10-12 times, League of Crafty gtrs, at least twice...I think I bought my frist Crimson album in ...'75-'76? Not to mention all the spin off bands... Sorry, I missed the tongue-in-cheek icon.

At the time I didn't like it. How could they even try to replace Jon Anderson??? Years later I warmed to Drama....whatta rockin' album!!! Killer rhythm with some ripping guitar! Maybe even the last time Steve Howe had a killer gtr tone with Yes. I'll have to check up on that last statement. Did you know that after Zep, Jimmy Page played a bit with Squire and White? The working name of the band was XYZ, but it didn't work out. Except for all the blues influences, I think of Led Zep as a prog-rock band.

What about Close To The Edge? I'd rate it their best album or at least this year I would.

I think The ConstruKction of Light is a stronger album. Good luck getting an autograph from Fripp.

I found this: http://www.undercover.com.au/news/2003/200...edzeppelin.html Here's have they have sold in the USA alone: Led Zeppelin IV 22x Platinum Physical Graffiti 15x Platinum Led Zeppelin II 12 x Platinum Houses of the Holy 11x Platinum Led Zeppelin 10x Platinum Led Zeppelin III 6x Platinum Led Zeppelin I 6x Platinum In Through he Out Door 6x Platinum The Song Remains The Same 4x Platinum Presence 3x Platinum Remasters 2x Platinum BBC Sessions (1997) 2x Platinum The Complete Studio Recordings 2x Platinum Coda Platinum Early Days The Best of Led Zeppelin Vol 1 Platinum

18?

Because it's the highest prime number less than 10?

Be sure to let Bruce Gallanter of Downtown Music Gallery know what you're up to. DMG is the hippest retail music store in NYC. He should have some suggestions. BTW: I manage the web site, at least for a few more weeks, for what ever that's worth.

You may want to check those song writing credits again.

Isn't Pharoah Sanders the mystery guest on Lawrence of Newark?

Yet her official site NorahJones.com still has a mention about the Norah Jones unofficial site.

It's a great tune. Who knows why? I'm hoping that someday that King Bee will come out with better audio then I heard on a bootleg many years ago. It's a Slim Harpo tune that's been covered by Muddy Waters and Capt. Beefheart, among others. I remember reading an interview with Robert Planet in (the now defunct) Musican magazine where he said he was recording country blues with a National steel guitarist. What happened to that material? And why couldn't he do an album like that with Page? He doesn't have to get into falsetto range and they don't need to use a trap drummer. Haruuuumph!

I don't care either, as long as some emotionally unbalanced goofball from the NJ board isn't threating us in various ways. That was the problem!